“Recently founded by four of the most promising young period instrument players in Europe, Ensemble Diderot is already renowned for its lively virtuoso interpretations of 17th- and 18th- Century music, and is rapidly evolving into one of Europe's most ingenious chamber music groups.

Named after the brilliant, versatile, and prolific writer of the Enlightenment, Denis Diderot, the Ensemble devotes itself to the performance and research of the trio sonata repertoire in its original and most sonorous combination: two violins, harpsichord and cello. ..“

“Ensemble Mediolanum was founded in 1999 by Sabine Ambos, Felix Koch and Wiebke Weidanz with the aim of conveying the expressive and versatile power of early music.“ (Google transl.) Visit website for more information. (ed.)

"Ensemble Phoenix Munich was established in 2003 by Joel Frederiksen, leading early music specialist, after moving to Munich, Germany. Munich is the resident city of the ensemble and the ensemble is proud to put the name of the city into its name. The ensemble is heir to Mr. Frederiksen’s previous group, the well-known L’antica musica New York (1989-2001). Ensemble Phoenix Munich presents early music at international standards using top international players and singers. The group is planning a concert series for 2007-8 in Munich and already has invitations to perform at international festivals. ... " Visit website for more information. (ed.)

"We met in the spring of 2004 in the state academy of music in Trossingen, a small town which lies in the Black Forest in the south of Germany. Four musicians from four different nationalities: Germany, France, Transylvania and Israel. We soon found that we share a common language and a common fascination with the polyphonic music of the late Middle Ages. Music that manages to express the deepest human feelings in a delicate, poetic manner, in a way that, in our belief, has not been surpassed. Through playing together we have learnt to know each other, to develop our own language and our own approach to this wonderful music which, in all of its complexity, leaves much freedom to the performer.

The use of instruments reconstructed based on medieval iconography allows us to approach the original soundscape. We attach great importance to the understanding of the musical language of the period, now having become foreign of today's classical musicians. Thus, a bit in the manner of a performer facing a contemporary work with a new language, it is a matter of decoding little by little the written page, to try to understand the essence of a piece, and to discover its meaning with our personal modern frames of mind

Santenay The ensemble draws its name from the castle of Santenay, in Burgundy, seigniorial residence from the XIth to the XVIth century, belonging in the XIVth century to Philippe le Hardi, son of the king of France Jean le Bon and first duke of Greater Burgundy. Thus this castle constitutes for us in a way a symbol of the apogee of the culture at the Burgundian court. Today the lands of the castle of Santenay are also known for their excellent wine production."

"SARBAND means connection - just as the name, which stems from Oriental music theory and denotes to an improvised linking of two compositions within a musical suite. Musical director Dr. Vladimir Ivanoff, who founded SARBAND in 1986, both as a scholar and a musician, connects cultures, people and epochs: His programmes unite musicians from the most different cultures and backgrounds and mediate between past and present, Early Music and living traditions.

In the world of SARBAND, musicians from Bulgaria, Turkey, Lebanon, Iraq, Sweden, Great Britain, Italy and Germany perform together. The co-operation in the ensemble is no fashionable crossover session, but conceived as a continuous dialogue on equal terms. All artists unrestrictedly contribute their native traditions, their personal histories and their own creativity to the programmes. While today the religious, economic, cultural and political differences between the Orient and Occident are in the focus of attention, Sarband endeavour to show that music was always not only mere decoration, but an enlightened means of mutual respect and can still be that today: an example for understanding and acceptance, a model of peace. The ensemble takes its audience on a journey through space and time, through religions and cultures. It is a journey, on which you can leave behind the customary ways of thinking and the traditional concert experience. ... "

“Stimmwerck was founded in Munich, in 2001. It is a group of sought-after professionals in ensemble vocal music; the two tenors, Gerhard Hölzle and Klaus Wenk, the bass Marcus Schmidl, and the counter-tenor Franz Vitzthum, who gives the quartet its unmistakable sound.

Stimmwerck devotes itself in particular to composers of the Renaissance and their nearly inexhaustible wealth of vocal music. Research in archives of music collections and frequent exchanges with musicologists serve as the foundations of their work, and are followed up with regular recordings at studios such as Aeolus, Cavalli Record and Christophorus, among others.“

"The Freiburger BarockConsort is an "extra edition" of the Freiburger Barockorchester and specialises in chamber music of the 17th and 18th centuries, with which it has gained its own parallel success.

The preference of the BarockConsort is for the viola da gamba, a strong continuo line and a delight in experimentation that repeatedly gives rise to unusual combinations, be that with musicians on stage or with New Music colleagues.

"The Freiburger Spielleyt is one the pre-eminent ensembles for early music. Many concerts in the field of sacred as well as secular music, broadcast, TV and CD-recordings made the ensemble famous.
The group is known for their joy of music in connection with a conscious interpretation of historical sources, and: “… they have an excellent soprano amongst them. Regina Kabis has a wonderful and clear timbre which sounds as if it were just made for early music. " Visit website for more information. (ed.)

“Habsburger Camerata is an eclectic period instrument ensemble bound together by a common enthusiasm for 17th Century music. Originally established to explore the musical legacy of the Habsburg Empire, we stand out in the field of historical performance by specializing in this diverse and colourful repertoire. Based on historic precedent, our particular combination of string and wind instruments is unique among contemporary period instrument groups and, as such, has been recognized as pioneering. This versatile instrumentation not only enables us to present a wide variety of programmes as a core ensemble, but also to perform larger scale works with the addition of other musicians. …”

"Light and Shadow; Color; Consonance and Dissonance; Poetry; Spice; Energy: the bonds that give Harmonie Universelle its unique shape. This fascinating ensemble is known for its artistic vision and fresh approach to the vast repertoire of chamber music originating from the seventeenth and eighteenth centuries. Its distinctive style and highly developed musicianship engage the listener, inviting him on a journey into the myriad of human emotions that, alongside musical rhetoric, are the living breath of the music of this period. ...

Harmonie Universelle is formed by musicians from Western Europe and the Americas. Its director, German-born Florian Deuter brings his wealth of experience to the group to bind the array of cultures and temperaments that manifest the voice of the ensemble. Alongside are Mónica Waisman, Argentine violinist; David Glidden, Canadian violist and violinist; the continuo group is constituted by the French harpsichordist Philippe Grisvard and the Hungarian cellist Balázs Máté."

“La Ninfea (Italian for water lily) is dedicated to the chamber music repertoire of the 17th and 18th centuries. In addition to their standard repertoire, the members of La Ninfea specialize mainly in unknown pieces of music worthy of re-discovery. The members of the ensemble have repeatedly won competitions and other awards, and have performed in various projects in different constellations. Audiences and critics appreciate their virtuous and particularly expressive performances. When the 2009 German Music Competition was announced, they decided to form a permanent ensemble, which reached the final round of the competition. The core membership of the ensemble, Christian Heim (viola da gamba), Simon Linné (Lute), and Barbara Heindlmeier (recorder), are often joined by other instrumentalists and singers according to the needs of their repertoire.”

“The early music ensemble wasfounded in1999 as agroup of fivemusicians withZehm-ElisabethThoma as director. The ensemble’s main focusis the interpretation ofmusic from the MiddleAges andRenaissance music.Singingandhistorical instrumentssuch aslyre,viol,Renaissanceflute,trumpets, harpand percussion are performed in concerts. …”

“LUXURIANS is a young, international Early Music Ensemble, situated in Bremen/Germany. Its members have won several prizes and scholarships and work with ensembles like Weser Renaissance, Salzburger Hofmusik, Orlando di Lasso Ensemble, L'Arpeggiata. The cast of ensemble LUXURIANS vary according to the program from trio to baroque orchestra. However, it concentrates on 17th Century sacred music and dance music.“

Musica Fiata was founded in 1976 as an ensemble specializing in the performance of 16th and 17th century music o­n historical instruments.

An intensive study of performance-practice sources, playing techniques and original instruments of the period has enabled the group to develop a speech-based musical style and a distinctive sound which lends a transparency to the most dense textures.

Musica Fiata's exciting, virtuosic performances have resulted in invitations to leading festivals such as Ravenna, Innsbruck, Flanders, Utrecht, Brügge, Copenhagen, Barcelona, Venice, Herne, Berlin, York, Ansbach, Graz, Breslau, Malmo and Israel as well as radio and television recordings throughout Europe. Musica Fiata has recorded 30 CD's to date for Sony Classical, Deutsche Harmonia Mundi and CPO. "

"Formed in 2002, Pantagruel have been delighting audiences across Europe with their semi-staged performances of renaissance music. Hannah Morrison's pure and sweet voyce combined with citterns, gitterns, lutes and flutes played by Dominik Schneider & Mark Wheeler bring to life the passionate music of a distant age.

Pantagruel, the hero of Francois Rabelais’s 1532 Novel, with his motto „do what thou wilt“ is the fitting name for an ensemble that is not afraid to explore innovative ideas of performance and presentation. Combining painstaking musicological research with their experience in classical music, rock music, jazz, theatre and dance, their performances expand classical concert conventions by using renaissance practices of medley, improvisation and gesture " Visit website for more information. (ed.)

RAYUELA was founded in spring 2004 by Claudia Gerauer, Martina Joos and Thomas Engel. The three recorder-players had studied with Kees Boeke and Matthias Weilenmann at the Zurich School of Music, Drama and Dance. As the "Trio O'Henry" they toured many European countries (Germany, Austria, Switzerland, Italy, Poland, Bulgaria, the Czech Republic and Russia) and north Africa (Morocco), and won several prizes at international competitions (International Recorder Competition in Calw, Germany, Kiwanis Prize for Chamber Music, Switzerland, the Swiss Orpheus Prize, the Migros-Genossenschaft Chamber Music Prize, Switzerland, and the International Chamber Music Competition on Period Instruments "Premio Bonporti" in Rovereto, Italy). ..

In the spring of 2004 the trio's many years of intensive work with other musicians culminated in the formation of the RAYUELA ensemble. Its programmes always include the three recorders, while other instruments are added depending on the particular programme.

RAYUELA made its debut with the programme "Changes" (in the monastery church of St. Gerold, Austria) in May 2004, which was recorded by Austrian radio. It delighted the audience and critics alike . ..“

"Through their work together and with impulses from Evelyn Tubb, Anthony Rooley, Andreas Scholl, Andrea Marcon and Christina Pluhar they have successfully created a baroque ensemble which critics have described as “moving and enchanting”. Its quality was recognized by the jury of the ‘Early Music Network International Young Artists’ Competition” in York, England, who awarded the young ensemble first prize in 2003.

In the following year savādi… achieved further successes in the Van Wassenaer Concours 2004, obtaining first prizes from both the jury and the audience. "

“Marianne R. Pfau created Toutes Suites in 2006 to restore magnificent but little known or entirely forgotten music of the Baroque. Toutes Suites, on period instruments and prominently featuring the hautbois, works in California and in Germany.

Scrutinizing Baroque hautbois music in the great European archives that in many cases has not been heard since the 18th century, has revealed some astonishingly beautiful works by largely unknown composers. Ms. Pfau, musicologist-cum-hoboista, takes great pleasure in bringing these gems to light again and exposing modern audiences to their sonic beauty, in CD recordings, on radio, and in live concerts. She also publishes modern editions of the works recorded. “

"The United continuo ensemble consists of a basic cast, consisting of the lute, Chitarrone, Baroque guitar, viola da gamba, violone, Lirone, harpsichord and organ. Depending on the program, the ensemble will be extended by singers and other instruments as well as dancers and actors. ... " (Google translation) Visit website for more information. (ed.)

“VocaMe - a top-flight ensemble of renowned singers from the Early Music scene

"... (Michael) Popp formed VocaMe, a top-flight ensemble of renowned singers from the Early Music scene. Popp took on the role of musical director for the ensemble and also made use of hs expertise in various medieval instruments, providing occasional instrumental accompaniment."

“ALBA was formed in connection with the first Copenhagen Early Music Festival in 1992 and the Spanish exhibition at the art museum Louisiana the same year.

Agnethe Christensen, contralto, comes originally from Sweden and has her musical roots in both classical and folk music. After studies at the Royal Danish Academy of Music and with Andrea von Ramm in Basel, she has participated in operas, solo recordings for different radio stations, CD productions and concerts in early music and has worked together with a.o William Christie, Reinhard Goebel, Konrad Junghänel and Frieder Bernius as well as giving masterclasses and solo recitals. She also appears at opera stages worldwide performing mainly modern and baroque opera latest with the danish theatre company Hotel Proforma in their music production Operation Orfeo and in 2001, together with Benjamin Bagby, in Sequentias new music-theater production"Myths of the Icelandic Edda".

Poul Høxbro has achieved international recognition for his work in recreating a medieval playing style on the pipe and tabor. A nine months journey in South America, where he played folk music from Peru and Bolivia, was to become crucial for his decision of a musical career. He has classical diploma and soloist examen - in recorder - from The Carl Nielsen Academy of Music, but since 1994 he has devoted all his time to investigate the simultaneous playing on three hole pipes and percussion. Using his motley musical background, and in close collaboration with specialized instrument makers, this pioneering effort has lead to performances around the world and brought him a number of Danish musical awards. He works regular in different constellations with artists from Sweden, Germany and Australia, plays in Medieval Ensemble ALBA together with Agnethe Christensen and with Miriam Andersén in the duo Esk where they specialize in early and traditional Nordic music. In addition to his music he performs storytelling in Danish, English and German, gives lectures and dance courses.“

“Baroque Fever was formed by leading members of the new generation of early music specialists in 2000. The members represent four nationalities, now all based in Copenhagen.

Following an initial round of concerts in Denmark and Sweden, to universal critical acclaim in the national press, they have made numerous appearances (many with radio relay on Danmarks Radio and the EBU network) throughout Northern Europe.

The core formation is 2 violins and continuo, enabling Baroque Fever to focus on the extrovert, extravagant Italian music from around 1700, as well as its influences throughout the rest of Europe.

In addition to concerts at festivals such as the Holland Festival of Early Music Utrecht, York Festival in UK, Copenhagen Renaissance Music Festival, Båstad Festival and Vantaa Baroque, they collaborate with larger ensembles, such as Norwegian Baroque Orchestra, Arte dei Suonatori (Poland), I Fagiolini (uk) as well as other musicians.

They teach and give masterclasses, both individually and as an ensemble, at leading Nordic conservatories and summer schools.”